Parents Lament Loss as Sunnyvale's California Theatre Center Closes
Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump
Rachel Bonds' 'Swimmers' Ventures into the Deep End Without Going Off It
What We Learn from Sylvester's Mighty Real Resurrection
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She holds degrees in English and journalism from UC Berkeley (where she got her start in public radio on KALX-FM).\r\n\r\nOutside of the studio, you'll find Rachael hiking Bay Area trails and whipping up Instagram-ready meals in her kitchen.","avatar":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twitter":"rachaelmyrow","facebook":null,"instagram":null,"linkedin":"https://www.linkedin.com/in/rachaelmyrow/","sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["edit_others_posts","editor"]},{"site":"futureofyou","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"food","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Rachael Myrow | KQED","description":"Senior Editor of KQED's Silicon Valley News Desk","ogImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/87bf8cb5874e045cdff430523a6d48b1?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rachael-myrow"},"jwilkins":{"type":"authors","id":"8668","meta":{"index":"authors_1591205172","id":"8668","found":true},"name":"John Wilkins","firstName":"John","lastName":"Wilkins","slug":"jwilkins","email":"Johnrwilkins@aol.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"John Wilkins is the theater critic for KQED Arts. 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Follow him on Twitter @johnrwilkins2","avatar":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"John Wilkins | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/7798fcc8a10bee0e04387b724b492df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jwilkins"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13695608":{"type":"posts","id":"arts_13695608","meta":{"index":"posts_1591205157","site":"arts","id":"13695608","score":null,"sort":[1500506720000]},"guestAuthors":[],"slug":"parents-lament-loss-as-sunnyvales-california-theatre-center-closes","title":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes","publishDate":1500506720,"format":"standard","headTitle":"Parents Lament Loss as Sunnyvale’s California Theatre Center Closes | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n","blocks":[],"excerpt":"The California Theatre Center is closing after 41 years of community service to Sunnyvale's families.","status":"publish","parent":0,"modified":1705030008,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":739},"headData":{"title":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes | KQED","description":"The California Theatre Center is closing after 41 years of community service to Sunnyvale's families.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Parents Lament Loss as Sunnyvale's California Theatre Center Closes","datePublished":"2017-07-19T23:25:20.000Z","dateModified":"2024-01-12T03:26:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"parents-lament-loss-as-sunnyvales-california-theatre-center-closes-slug-change","path":"/arts/13695608/parents-lament-loss-as-sunnyvales-california-theatre-center-closes","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13695608/parents-lament-loss-as-sunnyvales-california-theatre-center-closes","authors":["251"],"programs":["arts_1272"],"series":["arts_838","arts_1372"],"categories":["arts_235","arts_967"],"tags":["arts_1448","arts_596"],"featImg":"arts_13696699","label":"arts_1272"},"arts_12808122":{"type":"posts","id":"arts_12808122","meta":{"index":"posts_1591205157","site":"arts","id":"12808122","score":null,"sort":[1487966454000]},"guestAuthors":[],"slug":"silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","title":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump","publishDate":1487966454,"format":"audio","headTitle":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED","labelTerm":{"term":1372,"site":"arts"},"content":"\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309428405″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=45bMF3rKAh8]\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.","status":"publish","parent":0,"modified":1705031439,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":955},"headData":{"title":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump | KQED","description":"Silicon Valley theater companies discover that plays scheduled months ago resonate with the current political moment.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Silicon Valley Theatre Scene Bristles with Political Edge in the Age of Trump","datePublished":"2017-02-24T20:00:54.000Z","dateModified":"2024-01-12T03:50:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/02/2017-02-24c-tcrmag.mp3","guestFields":"0","sticky":false,"path":"/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, Vikas Dhurka made a stupid mistake. The playwright and tech industry worker fell asleep in the Lufthansa business lounge at Frankfurt Airport — with his phone, wallet and all his travel documents sitting on the table next to him. When he woke up, they were all gone. What followed was a misadventure so dramatic, Dhurka decided to transform his experience into a new play, \u003cem>Airport Insecurity\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Although the Silicon Valley-based Naatak theater company didn’t originally intend the play to have political consequences, artistic director Sujit Saraf says it now speaks to a visceral fear people have about their ability to travel in to and out of the United States. “Once you start coming for people for weird reasons which have to do with their race or religion or ethnic background, at some point, no one is safe,” Saraf says.\u003c/p>\n\u003ch3>A travel nightmare\u003c/h3>\n\u003cp>Dhurka is an Indian citizen, working in the United States on a green card as the senior director of product marketing at \u003ca href=\"https://www.pixelworks.com/\" target=\"_blank\" rel=\"noopener\">Pixelworks\u003c/a>, a semiconductor company. At the time of his misadventure, Dhurka had lived and worked in Silicon Valley for more than a decade. But without the documents proving he belonged in the U.S., he was told to book a flight to India and prepare for a long wait — up to two months. You can just imagine the phone call to his heavily pregnant wife in Fremont, about to give birth to their first child, alone.\u003c/p>\n\u003cfigure id=\"attachment_12812407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg\" alt=\"Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in Airport Insecurity, produced by the Santa Clara-based theater company Naatak.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24353_i-cMnN3xb-XL-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Priya Kumar, played by Devika Ashok, waits impatiently by the phone as her husband struggles to get back home in ‘Airport Insecurity,’ produced by the Santa Clara-based theater company Naatak. \u003ccite>(Photo: Courtesy of Sharma Podila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fortunately, after 48 harrowing hours in Frankfurt, a friendly agent from the U.S. Department of Homeland Security helped Dhurka make it back in time for the birth of his baby boy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But now, with President Trump’s administration targeting a growing list of people, as well as the \u003ca href=\"http://money.cnn.com/2017/02/05/technology/trump-h1b-visas-executive-order/\" target=\"_blank\" rel=\"noopener\">H-1B visa program\u003c/a> tech companies use to employ thousands of Indians, the Indian community in the San Francisco Bay Area is on edge. “A document becomes your identity in a land that you kinda don’t belong in,” Dhurka says. “And once that piece of paper goes away, you’re a nobody!”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/309428405″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/309428405″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Silicon Valley theater takes stronger political edge\u003c/h3>\n\u003cp>Current events have made Naatak’s play feel politically prescient. But the \u003ca href=\"https://thepear.org/\" target=\"_blank\" rel=\"noopener\">Pear Theatre\u003c/a> in Mountain View was looking for something overtly political when it scheduled Arthur Miller’s \u003cem>A View From the Bridge\u003c/em> last November, during the run-up to the election.\u003c/p>\n\u003cp>In the below 1987 interview with the BBC, Arthur Miller describes the context of the Italian community depicted in the play, including a large number of illegal immigrants. “They felt themselves separated from the vast majority of Americans,” Miller says, “by language, by background, and on the waterfront, by the kind of work they did.” But their compatriots were starving in Italy. “America was all there was.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/45bMF3rKAh8'\n title='//www.youtube.com/embed/45bMF3rKAh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>A View From the Bridge\u003c/em> tells the story of Eddie, who provides safe haven to two illegal immigrants related to his wife until one takes a shine to his niece.\u003c/p>\n\u003cp>Director Ray Renati loves the way the themes in this classic reverberate with present-day politics, and not just on the issue of immigration. “Eddie’s a bully,” Renati says. “No one dares to go against anything that Eddie says, or he will make sure that you pay. Donald Trump does the same thing.”\u003c/p>\n\u003cp>With \u003cem>A View From the Bridge\u003c/em>, Arthur Miller’s politically astute storytelling feels as compelling today as it was in 1955, when the play was written.\u003c/p>\n\u003cp>In a similar vein, Ayad Ahktar’s Pulitzer Prize-winning \u003cem>Disgraced\u003c/em> feels ripped from the headlines. Though it was written long before Trump’s proposed Muslim ban, the drama bristles with rage and despair, as the progressive, liberal, well-to-do Muslim-American character at the play’s center buckles under the weight of prejudice. It’s not an accident \u003cem>Disgraced\u003c/em> is one of the country’s most produced plays, according to American Theatre Magazine’s annual \u003ca href=\"http://www.americantheatre.org/2015/09/16/the-top-10-most-produced-plays-of-the-2015-16-season/\" target=\"_blank\" rel=\"noopener\">Top 10 List\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12812600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12812600\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg\" alt=\"A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS24355_Disgraced-Prod-1-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Manhattan dinner party starts off in a celebratory mood, before the conversation devolves into tribal politics, in Disgraced, finishing a run at the San Jose Stage Company. \u003ccite>(Photo: Courtesy of Dave Lepori)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Disgraced\u003c/em> is currently finishing its run at the \u003ca href=\"https://www.thestage.org/\" target=\"_blank\" rel=\"noopener\">San Jose Stage Company\u003c/a>, where artistic director Randall King says American culture is at a critical boiling point, and the theater, because it’s nimble and visceral, is well-equipped to foster an enlightened political discussion. “We have to say something,” King says. “We have to do something. I don’t think I’ve felt this sense of urgency, ever.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Naatak’s ‘Airport Insecurity’ runs through Saturday, Mar. 4, 2017 at the Cubberley Theatre in Palo Alto. More info \u003ca href=\"http://www.naatak.com/buy-tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>‘A View From the Bridge’ runs through Sunday, Apr. 2, 2017 at the Pear Theatre in Mountain View. More info \u003ca href=\"https://thepear.org/boxoffice\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disgraced’ runs through Sunday, Feb. 26, 2017 at The Stage in San Jose. More info \u003ca href=\"https://www.thestage.org/tickets/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12808122/silicon-valley-theatre-scene-bristles-with-political-edge-in-the-age-of-trump","authors":["251"],"series":["arts_1357","arts_1372"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1642","arts_1119","arts_1118","arts_596"],"featImg":"arts_12812406","label":"arts_1372"},"arts_11410491":{"type":"posts","id":"arts_11410491","meta":{"index":"posts_1591205157","site":"arts","id":"11410491","score":null,"sort":[1458266405000]},"guestAuthors":[],"slug":"rachel-bonds-swimmers-ventures-into-the-deep-end-without-going-off-it","title":"Rachel Bonds' 'Swimmers' Ventures into the Deep End Without Going Off It","publishDate":1458266405,"format":"standard","headTitle":"Rachel Bonds’ ‘Swimmers’ Ventures into the Deep End Without Going Off It | KQED","labelTerm":{"term":1372,"site":"arts"},"content":"\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"Marin Theater Company's unsinkable new drama forces us to use our imaginations","status":"publish","parent":0,"modified":1705044832,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1027},"headData":{"title":"Rachel Bonds' 'Swimmers' Ventures into the Deep End Without Going Off It | KQED","description":"Marin Theater Company's unsinkable new drama forces us to use our imaginations","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rachel Bonds' 'Swimmers' Ventures into the Deep End Without Going Off It","datePublished":"2016-03-18T02:00:05.000Z","dateModified":"2024-01-12T07:33:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11410491/rachel-bonds-swimmers-ventures-into-the-deep-end-without-going-off-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11410491/rachel-bonds-swimmers-ventures-into-the-deep-end-without-going-off-it","authors":["8668"],"series":["arts_1372"],"categories":["arts_967"],"tags":["arts_1119","arts_1118","arts_596"],"featImg":"arts_11410494","label":"arts_1372"},"arts_11360672":{"type":"posts","id":"arts_11360672","meta":{"index":"posts_1591205157","site":"arts","id":"11360672","score":null,"sort":[1456588846000]},"guestAuthors":[],"slug":"what-we-learn-from-sylvesters-mighty-real-resurrection","title":"What We Learn from Sylvester's Mighty Real Resurrection","publishDate":1456588846,"format":"standard","headTitle":"What We Learn from Sylvester’s Mighty Real Resurrection | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n","blocks":[],"excerpt":"A jukebox musical about the disco star at the Brava Theater Center in San Francisco leaves audiences dancing and believing","status":"publish","parent":0,"modified":1705045010,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":897},"headData":{"title":"What We Learn from Sylvester's Mighty Real Resurrection | KQED","description":"A jukebox musical about the disco star at the Brava Theater Center in San Francisco leaves audiences dancing and believing","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What We Learn from Sylvester's Mighty Real Resurrection","datePublished":"2016-02-27T16:00:46.000Z","dateModified":"2024-01-12T07:36:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/11360672/what-we-learn-from-sylvesters-mighty-real-resurrection","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/11360672/what-we-learn-from-sylvesters-mighty-real-resurrection","authors":["8668"],"programs":["arts_140"],"series":["arts_1372"],"categories":["arts_69","arts_967"],"tags":["arts_1118","arts_596","arts_769"],"featImg":"arts_11357904","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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